


The Forsaken

by TheSomewhatRamblingReviewer



Category: The Forsaken (2001)
Genre: Analysis, Meta, Nonfiction, Spoilers
Language: English
Status: Completed
Published: 2019-08-06
Updated: 2019-08-06
Packaged: 2020-08-10 07:46:53
Rating: Not Rated
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 5,196
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/20131849
Author URL: https://archiveofourown.org/users/TheSomewhatRamblingReviewer/pseuds/TheSomewhatRamblingReviewer
Summary: Warning: Contains spoilers for the movie. Complete.





	The Forsaken

Open to a blood-covered, naked woman, Megan, having trippy flashbacks in a shower.

On the one hand, I hate how some societies sexualise the female breast to the point it’s considered indecent and taboo for females to publicly bare their chests. On the other hand, I’ll admit I do somewhat internalise this, and whenever I see scenes such as this, I almost always automatically think it was put in solely to titillate a large chunk of the male audience, and therefore, is a lazy, vaguely misogynistic way for those involved to not put in the effort to create a compelling story.

I really wish I could just poof anyway this internalisation and judge such scenes with a more neutral eye.

In this instance, ignoring my knee-jerk reaction, I’m not sure if the film is guilty of the above. There’s a later scene I absolutely love, and I think this one might tie into it.

For now, the next scene has tons of cars.

This transitions to one of the protagonists, Sean, played by Kerr Smith, trying to assure a mechanic he’ll safely deliver a car by an allotted time. However, the mechanic barely lets him get in a word edge-wise.

When they get to the car, Sean stares at it with unbridled lust.

Next, he’s verbally expressing his lustful admiration to a friend of his. At one point, he bops a female receptionist, and he and she share a quick smile.

Another woman comes to tell Sean their boss wants to see him before commenting on how dope the car is. After Sean leaves, she and the friend discuss whether Sean will be fired or not.

In the boss’s office, he’s snappy about a deadline, but Sean is firm on leaving. His sister is getting married, he thought he wouldn’t be able to go, but with this job, he will, and he swears he’ll do this and make the deadline. Still, if the boss can’t accept this, he’ll just have to fire Sean.

The boss agrees Sean can go, and there’s a brief scene of Sean making it clear to his friends he’ll be going.

He drives, he’s flirted with by a blonde in another car, and he’s just generally on top of the world.

Then, he gets flat tire, and worse, can’t find his wallet to pay to have it fixed. What happened to the wallet will be revealed later, but I’m not so sure someone didn’t shoot out his tire or otherwise set a trap.

Luckily and unluckily, he does have the money he was saving for his sister’s wedding present.

Later, he’s in a motel room with two beds, and the uneasy atmosphere becomes more-and-more creepy and scary.

In the morning, a hotel room is shown to have blood-splattered curtains and flies buzzing around.

The car fixed, Sean is ready to go, but his love interest for the movie, Nick, played by Brendan Fehr, makes his presence known.

I’m not making any jokes when I use such descriptors. I know it’s unlikely anyone involved in the film intended this to be a love story between the two male protagonists, but I genuinely can’t read it as any but.

Onto the scene in question, Sean tries not to engage without doing anything to provoke negative emotions, and Nick is deliberately ignoring this. He compliments the car, establishes Sean will be going through where Nick needs to be, and broaches the possibly of him getting ride by offering some company, specifically his, might be nice.

Sean finally outright refuses, and Nick tries to lay on the guilt to make him change his mind.

I’ve watched so many scenes of men trying to pick up women in bars using the exact same tactics Nick is using with many of the disinterested or reluctant women using the same behaviours Sean is employing it’s unreal.

Really, aside from the fact Nick really isn’t trying to gain sex, the only difference between such scenarios is: One of the first thing men do is offer to buy drinks/a meal, and here, Nick reluctantly, out of desperation, uses this as a last resort, “I’ll pay for gas!”

Sean stops, and Nick gets in.

“All the gas until Houston?”

“Name’s Nick,” Nick non-answers.

“Sean.”

“You made the right decision, Sean.”

As Sean’s driving, he talks to Nick about his family, his job, and his ambitions. He’s mom is dead, his sister put herself and him through college, and he wants to direct someday.

It’s notable this scene is the first where Sean is actually both being listened to and engaging in a true conversation with someone.

Nick has to ruin things, however, by opening a beer, asking the person driving if he wants to share it (thankfully, unlike certain other male protagonists in the supernatural genre, Sean rightfully and firmly refuses), and then, littering. All this results in them getting them pulled over by a cop.

At a rest stop, Sean finds blood on a sink, touches it, and is weirdly blasé about it. Nick is all, ‘I’m going to keep irritating you until you stop being mad at me,’ and Sean doesn’t just drive off and leave him behind.

However, this might be because, when they go out, they find another car and a group of people, the vampires, waiting near Sean’s.

Smith and Fehr are both impressive in this scene. Sean is uneasy in a non-confrontational man coming across clearly aggressive individuals way, and behind him, Nick silently shows subtle signs of being ready to start fighting.

Sean makes it clear he’s willing to help, and Nick goes along, because, he knows, if he doesn’t, Sean might get hurt. He’s willing to risk himself, but he’s not willing to risk Sean. Yet, this doesn’t mean he’s going to try to actually appease the others.

They drive off, and one of the people comments, “The one riding shotgun’s a hunter.”

“I know,” the leader answers.

In a bar/diner, Nick is eating an extremely rare steak. Offering to share, he asks if Sean’s bare minimum meal is due to lack of money. Sean explains about losing his wallet.

The conversation turns to Nick’s aimless wandering lifestyle and his outlook on their generation. To wit: he’s cynical, disdainful, and as shown by his “Blair Bitch” comment and characterising Monica Lewinsky as a gold-digging fame seeker, has a misogynistic streak. Ugh.

One thing about his speech always takes me out. He mentions **South Park**, and for some reason, I always think **South Park** came around in the late 2000s, but actually, it came around in 1997. Knowing this movie came out in 2001, part of me always goes, ‘Wait, what,’ when he mentions it.

It’s interesting how Nick views media as a large root of society’s problems, Sean has dedicated his life to working in the entertainment business, but despite this, Nick doesn’t hold any hostility or disdain towards Sean, and Sean can respect, if not agree, with most of the points Nick makes.

After giving Sean money to pay for their food, Nick goes to the bathroom.

Seeing Megan, Sean decides to follow her outside. Nick soon comes along, and they watch how Megan reacts to other people. She’s glassy-eyed, expressionless, quiet, twitches, tries to shrink away from people, and shows signs of feeling cornered.

Trying to get everyone away, Nick pays a waitress for the coffee Megan had earlier before approaching Megan is a calm, gentle way. “It’s okay. I know what’s wrong with you, and I wanna help you.”

Sean is concerned Nick is being too aggressive, and though it’s clear they both have a genuine concern for her, the fact they loudly argue in front of this terrified, not-mentally there woman is just maybe a stupid, terrible way to handle the situation. The idea she might react even worse to this apparently doesn’t cross either of their minds.

She starts to collapse, and catching her, Nick orders Sean to get the car. Sean isn’t down with potentially kidnapping a drugged/mentally ill woman, but at Nick’s insistence, he does.

So, Sean is either mentally weak and lacking moral courage, or some part of him actually trusts Nick.

At a rundown motel, the owner has a monkey.

After Sean checks in, Nick carries Megan into a room, sets her on a bed, and sends Sean to get Nick’s bags and as much ice as possible. Sean wants answers, but turning on the bathtub faucets, Nick promises to answer all Sean’s questions after the bags and ice is delivered.

There’s a scene of Sean struggling with the ice machine.

Then, this scene with Nick and Megan might be my favourite in the whole movie, and given what I said at the beginning of the film, I’m not sure I can properly explain why.

Nick starts examining Megan’s unconscious body, and it ends with her almost completely naked.

Whatever Fehr and everyone else was going for, I love this scene for how non-sexual it is. Nick shows absolutely no sign of either arousal or disgust. Everything is in his movements and touch is clinical. He checks between her toes, fingers, and behind her ears, first, and then, he moves on to other places on her body. Once he establishes one area is free of what he’s looking for, he immediately moves on.

When it’s time to remove her panties, he hesitates, but I’m not sure the hesitation isn’t because he saw the blood peeking out from underneath. When he lowers them to find a bite, he’s scared, perhaps, a bit sad, and unsurprised. What he isn’t is leering. He makes no move to finish removing the panties, and he doesn’t take his eye off the bite in favour of taking a proper look at her naked body.

Sean comes in, and he isn’t okay with finding Nick in front of the almost naked, unconscious stranger, but Nick manages to slightly change the tone by saying she needs to be cooled down. He carries her to the bathtub.

So, Sean thinks getting her to a doctor would be the logical, decent thing to do, but Nick says she’s infected, orders Sean to go get ice from the restaurant, and reveals his bag is full of pills and needles.

Realising this is the point where things could finally go really bad, Nick desperately says, “I swear to God, man, I will drop you a clue. I promise you. But I need the (f-bombing) ice.”

Next, there’s a scene of the vampires attacking some annoying people on a beach. Of course, the vampires are annoying themselves.

Meanwhile, Megan is psychically linked to the vampires, and she has a freak out.

Nick and Sean manage to drug her, and again, two men physically restrain a naked, terrified woman and drug her into unconsciousness, but there’s nothing exploitive or sexual about it. Nick focuses mostly on keeping her quiet, manages to make eye contact, and repeatedly asserts she’s safe. She starts to calm down until another vision overtakes her, and this is when he insists Sean help him so that they can keep her from harming herself.

At one point during all this, Nick has to shoo away the hotel owner. He does so by claiming his sister had a nightmare before guaranteeing they’ll be gone by the morning.

Even though this bit was uncomfortable- the owner did leave what he suspected might be an abused woman all alone-, it helped the scene. Nick could have claimed he and his girlfriend liked it rough and loud, but instead, he claimed Megan as his sister. Nightmares are gender-neutral and an affliction no reasonable person would fault someone for suffering from. His sister suffered from one, but he is protecting her now.

Nick doesn’t ever show any real interest in Megan as a person, but this isn’t the same thing as him not recognising her as one. He does. He sincerely wants to help her, he does understand what she’s going through, but once she is helped, his duty is done, and she can go on with her life while he goes on with his.

After all this, Nick tells Sean, “She has a blood disorder.” He continues it’s a virus, and the only way to fully get rid of it is to find the original source of infection to kill it.

“Now, I’m about to lay some heavy shit on you, my man. And you’re probably going to bail, but I am all played out, and I need your help.”

Then, he sees Sean was bitten when he was trying to quiet Megan, and it’s established her blood mixed with his.

Nick hates everyone but Sean and Megan and especially himself. Also, his non-hatred of them comes with a heavy dose of regretful resentment.

Sean loses consciousness, and Nick realises the vampires have shown up at the hotel. The next scene has him assembling a gun whilst sitting guard over Sean and Megan. Having put them on the bed together, he’s also put a shirt on her.

When Sean wakes up, he goes on about his weird dreams, and it’s revealed he feels as if he’s on a drug trip.

Taking some pills, Nick informs him, “You were bit by a vampire.” Heh.

To prove this, Nick takes him to the vampire car, has Sean open the trunk, and springing out, a female vampire is killed by the sun.

Later, the film’s Renfield crashes into the motel so that the vampires can get in the trunk. He’s psychically ordered to kill the human woman who had a threesome/orgy with the vampires.

Afterwards, he drives away, and the motel explodes.

Meanwhile, Nick is driving a sick Sean and still-unconscious Megan. Sean doesn’t want to take any drugs, but Nick makes it clear it’s literally his only chance of retaining his humanity. Hopefully, they’ll stave of the infection long enough for the person who turned Megan to be found and killed.

Sean verbally attacks him, and Nick diffuses things by showing where he was bitten. A woman bit him at a party a little over a year ago. At the hospital, he met a male intern who had once been bitten, and he knew what drugs Nick needed. Nick thinks the vamp who bit Megan was the one who sired the one who bit Nick.

So, a woman sexually assaulted Nick and infected him with a deadly disease, and a man who’d also been a victim helped him.

This is both interesting and uncomfortable. As I said earlier, Nick is somewhat misogynistic, but he isn’t abusive in his misogyny. He doesn’t target women, and when he finds one in a situation similar to his, he unthinkingly helps. Because they are both victims, empathy drives him, but he isn’t particularly empathetic to Megan herself. Because he’s determined to be a survivor, he’s willing to help others become one, too, regardless of any personal feelings he has towards them.

How this ties into his relationship with Sean can be discomforting. He shows genuine interest in Sean and a personal concern for and protectiveness towards Sean. Smith and Fehr have solid, unwavering chemistry.

Whereas, Sean does show both a clear interest in women and a more subtle, ambiguous interest in Nick, Nick’s sexuality or lack thereof is an open question. Heterosexuality is often painted as the default in both media and real-life, but there’s nothing to say Nick is or isn’t in this movie. He feels a connection to Sean and is heroic enough not to let a young, suffering woman fend for herself is the most said, and it isn’t clear exactly how this connection inwardly manifests itself within him.

The icky part comes in: is the movie positing Nick’s attack rewrote his sexuality, made him determined to only form attachments with men despite his sexuality or lack thereof, or was he always ace/bi/gay/pan?

I’ll get into Sean’s side of things more later on.

For now, Nick explains the Forsaken (vampires) can only be killed on hallowed ground.

Meanwhile, annoying Renfield is stopped by a police officer. This ends badly for the officer.

Back with the trio, I give the film credit for saying, in the 80’s, when drug cocktails for HIV were coming around, a bitten doctor found a way to do the same for the bitten.

There’s a nice, small moment where Sean fully realises Nick is living on borrowed time, and Nick doesn’t make light of this, but he does try to silently offer comfort to Sean.

Things take a turn, however, when it’s established, rather than giving Megan the cocktail, Nick is simply keeping her doped up on morphine. He’s trying to use her to find the vampires by exploiting the fact the untreated virus makes her a homing device to them.

Personally, I feel the movie made a misstep here. It’s implied, even if Sean hadn’t been bitten, Nick would still do this, but the movie could have made his actions more morally ambiguous and, by extension, easier for certain viewers to sympathise with by presenting another facet.

This part is never brought up, but it should have been: There’s a finite amount of drugs, and there’s a good possibility it’s difficult for him to replenish the supply when needed.

Going by this, he’s willing to risk Megan’s life and humanity without her consent, but he is doing so in the hopes of helping her, Sean, and himself.

He met Sean first. He bonded with him. As I said, he acknowledges Megan’s humanity, but he feels no personal connection to her. In what I imagine is understandable to most, he’s putting himself and someone he cares about above a stranger.

If Nick had a line or two explaining how quickly the drugs are used up and how he barely has enough for him, this and several later scenes would have more emotional resonance.

In a diner, Sean and Nick eat.

Did they put the top up on Sean’s car and lock Megan in (so, if someone tried to get her, the alarm would go off)? Did they stash her in a hotel? Or did they leave an unconscious woman all alone in an open car?

These questions aside, Sean is riding the high of all the new sensations.

“Yeah, it’s seductive,” Nick acknowledges. “But just remember what came out of that (the?) trunk.”

He lays out the film’s mythos: Eight knights made a deal with a demon for eternal life. They killed and drank the blood of a ninth knight when he refused. At sunrise, they were so ashamed, they separated and hid in caves. Now, they walk the Earth cursed with a desire for blood and unable to tolerate sunlight.

There are now four of the original vampires left, and the virus is telegenetic. If the original source carrier is killed, the people who were bitten but haven’t fully turned will recover with the virus completely out of their system.

Admittedly, the film’s mythos is shoddy.

During the night, Sean drives, and Nick talks about a nearby abandoned Spanish mission. He wants to lure the others there. Sean is worried about Megan turning before they come, and when it’s clear Nick really will kill her should this happen, he insists she go on the meds and he (Sean) go off them.

Nick refuses to let Sean do this, and he claims it’s because, when the time comes, he’s going to need all the muscle he can get.

I’m pretty sure even people who see absolutely no homoeroticism between the two would call bull. Nick cares about Sean on a personal level. They’ve become friends. He can kill a stranger more much easily than he can someone he’s bonded with. He can live with the actual loss of a stranger more than he can the person he’s grown to like and respect.

Again, if attention had been given to the limited supply, this would be more poignant.

Instead of it being: _Nick is callously risking an already victimised woman’s life, and unsurprisingly, Sean objects_, it could be: _All three of them have been dealt a terrible hand, and the only real hope any of them have is if an incredibly risky gamble happens to pay-off._

Nick has the best chance at killing the vampires, and so, giving up his share of the cocktail would do the opposite of helping them in the long-term. Sean might be more physically capable than Megan, but even with the cocktail, he’s sick, too, and lacks the skills Nick has developed. This means it’d come down to which is personally more worth saving. Sean doesn’t want to risk a victimised stranger’s life for his own and is willing to risk his for hers. Nick doesn’t want to risk his friend’s life for a stranger’s. Neither is in the wrong, and both could be argued to be in the right.

However, as it’s presented, Sean is right, and Nick is wrong.

Back to the scene, the vampires appearing and Megan going out of control derails this argument.

At one point, Nick threatens to kill Megan if she bites him.

Question: Since he’s already infected, would her biting him do anything?

They lose the vampires, but unfortunately, Sean decides to join the misogyny bandwagon by yelling slurs at Megan for damaging the car. For some reason, this causes her to try to run away, and the drugged, mentally-addled young woman is restrained by a strange man who just yelled a sexually based slur at her.

In a way, he does make up for it by insisting he’ll stop taking the cocktail if Nick refuses to give her some. He also makes it clear there will be no more drugging her with morphine.

Okay, but what if he’d insisted on stopping the morphine earlier, and letting her be an actual character in the film, she’d actually been part of the conversation on who should and shouldn’t get a share of the limited supply of life-saving drugs?

Managing to get her back in the car, they escape the returning, gun-toting vampires.

Said vampires are having car trouble, and some men who don’t deserve what happen to them but, nevertheless, I am grateful they will never get behind the wheel of another vehicle, stop. I say this due to the driver operating under the influence and the passenger encouraging this.

Elsewhere, Sean and Nick discover their gas tank has been hit, and Sean is worried the cocktail isn’t properly helping Megan.

Sean makes it clear Nick is to stay with Megan while Sean checks out a nearby shed. Well, this will come as a shock, but Nick doesn’t listen, and either Megan or someone who just kidnapped Megan drives off with the car.

Over to the vampires, one of them gets a snake to bite him.

Next, the two men who were a menace to the well-being of drivers, passengers, and pedestrians are no more.

Back to the duo, Sean and Nick have another nice scene. Sean is getting sicker, and he’s upset about how much his life has gone downhill in such a short time. Nick tries to take his mind off this, and they bond over their lack of fathers.

Then, Nick gives Sean back Sean’s wallet. He’d found it on the road before approaching Sean.

Nick expects Sean to be angry, but Sean’s just like, ‘I would be, but after all this, I know this is just who you are, and I accept this.’

They come across the car without Megan but eventually find her, too, and get her back inside.

The vampires reappear, and Sean decides to play chicken with them.

End result: The vampires lose but aren’t defeated.

The trio comes across a guard dog and a shotgun wielding older woman, Ina, played by Carrie Snodgress. Sean and Nick are polite, and the latter offers to pay. She’s resistant to help them until she gets a good look at the sickly Megan. Her heart goes out to the young woman in need of help, and she allows them to come inside.

Snodgress did wonderfully with this scene.

Inside, Sean starts having visions and tripping.

Nick comes in with a plate. “You want something to eat, my man?”

Then, realising what’s happening, he admits the cocktail doesn’t always work.

This could have added another layer to the whole complexity of one of the infected not getting the cocktail issue.

Coming down, Ina informs them Megan is resting. She tries to find out more about Megan, but they claim Megan was hitchhicking, sick when they first picked her up, and hasn’t said anything since.

Meanwhile, Megan is having nightmares about her rape/non-consensual biting.

Let me make it clear: This scene was disturbing, and it was meant to be. On a different note, in real life, rape doesn’t always happen with a screaming, struggling female being penetrated by a male. Anyone can be raped by anyone, and rape can happen with little-to-resistance from the victim/survivor.

With all this said, Megan being bitten was filmed and played out as a rape scene with biting in lieu of PIV penetration likely helped get the message I believe the movie has been trying to send across.

Nick, Megan, and Sean are all victims. In Sean’s case, he’s more like a hospital worker who is accidentally infected when helping a patient, but Nick and Megan are the equivalent of rape/sexual assault victims. Nick was bitten at a party, and it’s not clear if he even cared or not until he started getting sick. There’s no flashback shown of this. With Megan, however, the flashback shows no seduction, no glamour, nothing but a young woman struggling as she’s being held down and her body is penetrated.

I’m wondering if someone, consciously or subconsciously, realised showing Nick being bitten would invite too much apologism or outright dismissal from the audience. Showing him in a scene similar to Megan’s would paint him as contemptibly weak to much of the audience or risk making him pathetically funny (I wouldn’t be part of the audience holding either view). Showing him into a woman or disinterestedly accepting attention from one would make it along the lines of: A person consented to one thing but not another or a person not only deliberately kept quiet about an STD, they actively set out to infect another person.

However, I’m not sure how much of the audience would see the latter scenarios along those lines.

With Megan, though, it’s clear these vampires aren’t biting people just to survive. Given the leader’s order to kill her afterward, it’s not even a case of them genuinely believing they’re doing the people they infect a favour by allowing them to become something superior. No, these vampires are sadistic, cruel, and they violate people and, in essence, kill all of their victims, even the ones they don’t physically kill.

This ties back to Nick’s line. Vampires are often seducers in fiction, but in certain mythologies, it isn’t wise to forget what they really are: Soulless, parasitic monsters.

Moving on, elsewhere, the vampire leader realises he’s lost the connection to Megan.

Back at Ina’s, Megan is finally talking. She calmly tells them one of the vampire lackeys was supposed to kill her after the assault but didn’t.

The guard dog starts barking before running off.

Next, the vampires start attacking.

Sean and Nick realise the house is built on a Spanish cemetery.

“This place is blessed, baby,” Nick tells Sean.

There’s a shoot-out, and Nick goes down. A severely weakened, beaten Sean begs the leader to kill him, but the leader decides Sean will be the new day driver.

I neither know nor care what happened to annoying Renfield.

Upstairs, Snodgress continues to give an awesome performance with how, despite her own terror, Ina holds Megan in an effort to both comfort and protect her.

Then, the leader orders Megan to move away from Ida in exchange for Megan living, but staying in front of her, Megan refuses. Aw.

Suddenly, Sean drives the car through, and with a little help from the sun, he takes out the leader.

The foursome all get of the house before the leader explodes it.

Poor Ina.

Later, at a hospital, Megan and Sean finally talk.

It’s established Ina doesn’t remember much, and I’m not sure this is a good thing. She ends up in the hospital for reasons she doesn’t know the circumstances behind, and then, she’s told her house is no longer there. It’s never said if the dog reappeared or not, but in addition to the loss of her house, she’ll likely have to deal with the grief over her presumed dead dog, too.

Megan is going to live with her aunt and uncle. They wish each other well, and she leaves.

Next, Sean finds out Nick has checked out early but left a note. It turns out, the leader they killed wasn’t the source of his infection.

The last scene has Nick hitchhiking. Sean trolls him by making him think more vampires have arrived. Heh.

Then, Sean explains he’s now a bonafide hunter who will be helping Nick.

The movie ends with the lovebirds riding off to go on their epic quest together.

Thoughts: I enjoyed this movie, but it wasn’t without its problems. I liked the relationship between Nick and Sean, but I can’t help but feel misogyny and/or sexism on the part of some of the people involved in this film played a part in how it was presented.

Megan’s been described as Sean’s love interest, but she isn’t. In reality, she isn’t even a proper character. She spends most of the movie either in a mind-altered state or unconscious, and through no fault of the actress, the few moments were she’s lucid and active, all the audience can glean is she’s likely a nice person. Sean initially showed some interest in a pretty girl, but when it became clear she was sick and in danger, showing his status as a decent human being, he immediately switched to concern and a desire to protect her. In the end, she leaves, it’s implied she does so without talking to Nick at all, and there’s no hint she’ll ever see or hear from either of them or even Ina ever again.

Nick’s utter disinterest in her as a person coupled with his empathy-driven determination to save her could have actually been really neat, but the clear misogyny interwoven underneath this ruined it.

Despite its problems, however, I did appreciate the lack of victim blaming and, as written above, the lack of exploitation and sexualisation of the victimised Megan by the male protagonists. Neither of Sean nor Nick ever make any comments on Megan’s physical attractiveness nor talk about her in sexual terms. Nick never blames Megan for getting bit, and nor does he blame her when she bites Sean, because, he understands, unlike the vampires, she literally wasn’t in control of her mental facilities or her own body. There are subtle signs he blames himself for Sean being bit, but he doesn’t blame Sean.

Fin.


End file.
